注册 登录  
 加关注
   显示下一条  |  关闭
温馨提示!由于新浪微博认证机制调整,您的新浪微博帐号绑定已过期,请重新绑定!立即重新绑定新浪微博》  |  关闭

黄牧的樂府 Music/Ballet

古典音乐及芭蕾舞 Blog Music & Ballet请勿转载

 
 
 

日志

 
 

Mariinsky Romeo and Juliet : old-school virtuosity  

2014-08-05 06:37:13|  分类: 音乐和舞蹈演出 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |

Royal Opera House, London

Lavrovsky's creaky Romeo and Juliet is made mesmerising by the Mariinsky's star dancers
3 out of 5 3

‘An almost disbelieving tenderness’: ex-Royal Ballet dancer Xander Parish, right, with Viktoria Tereshkina in the Mariinsky’s Romeo and Juliet. Photograph: Tristram Kenton

Leonid Lavrovsky's three-act ballet version of Romeo and Juliet had its premiere in Leningrad (now St Petersburg) in 1940. The production is of considerable historical interest: Prokofiev's celebrated score was created alongside Lavrovsky's choreography and the first Juliet was renowned Soviet ballerina Galina Ulanova.

Three-quarters of a century later the Mariinsky Ballet's revival of the piece reveals it as very much a work of its day. The staging and the mime have dated poorly, especially when contrasted with Kenneth MacMillan's much more naturalistic and character-driven 1965 production for the Royal Ballet. The opening scene, in which yawning villagers take possession of the stage with much "accidental" bumping and shoving, is very tiresome indeed. Some of the costumes badly need updating. Paris (Yuri Smekalov, Konstantin Zverev) woos Juliet while wearing turquoise tights and a white diamante kilt. Not a look to set a girl on fire.

One of the effects of this creakiness is to highlight the brilliance of the score. If the static, declamatory choreography looks back to the populist heroics of the early Soviet era, Prokofiev's music seems to strain towards modernism, with conductor Boris Gruzin drawing a futuristic shimmer from the Orchestra of the Mariinsky theatre. It was from the refined flow of the score that the first two principal couples seemed to take their stylistic cue. In effect, they danced Lavrovsky as if it were MacMillan, setting themselves apart from the rest of the cast, who were less able to escape the choreography's period restraints.

Diana Vishneva, an 'exquisitely feminine Juliet', with ‘thrilling’ Vladimir Shklyarov. Photograph: N Razina

On Monday's first night, Diana Vishneva was an exquisitely feminine Juliet, visibly indulged by her arrogant, oligarchical family. Her dancing is liquid and sensuous, a cascade of steps given ever-changing shape by her far-projected gaze and subtle épaulement. She shows us, in her first encounter with Vladimir Shklyarov's blazing, boyish Romeo, the melting away of her brittle teenage archness, and on the moonlit terrace (a wonderfully romantic set by designer Pyotr Williams) the emerging of an unflinching and passionate eroticism.

Viktoria Tereshkina, dancing opposite Xander Parish on the second night, is a grander and perhaps more tragic Juliet. From the first, we sense the inchoate longing of this tall, sensitive young woman, and discover an emotional register that is more plangent than that of the feline Vishneva. You can see in Tereshkina's line, particularly in arabesque, the statement of a classicism that never overreaches itself, never sacrifices finesse for flash or purity for effect. This is old-school, unfakeable St Petersburg virtuosity, and it's as moving, in its way, as Tereshkina's unfolding of Juliet's story.

Shklyarov is a thrilling principal dancer. His soaring leaps and soundless landings are mesmerising, his jetés are arrow-sharp and his first-night ovation with Vishneva was fully merited. But it was no less fascinating to watch Parish's performance with Tereshkina. Four years ago, languishing in the Royal's corps de ballet, Parish accepted an offer to join the Mariinsky, the first Briton ever to do so. Last week he returned to Covent Garden as one of the Russian company's stars, delivering a performance that was as confident as it was elegantly shaped. An ardent Romeo, intoxicated by love, he partnered Tereshkina with an almost disbelieving tenderness. It was a fine homecoming.

  • (the Guardian London)
  评论这张
 
阅读(101)| 评论(0)
推荐 转载

历史上的今天

在LOFTER的更多文章

评论

<#--最新日志,群博日志--> <#--推荐日志--> <#--引用记录--> <#--博主推荐--> <#--随机阅读--> <#--首页推荐--> <#--历史上的今天--> <#--被推荐日志--> <#--上一篇,下一篇--> <#-- 热度 --> <#-- 网易新闻广告 --> <#--右边模块结构--> <#--评论模块结构--> <#--引用模块结构--> <#--博主发起的投票-->
 
 
 
 
 
 
 
 
 
 
 
 
 
 

页脚

网易公司版权所有 ©1997-2017